Since the very moment when man started painting, drawing or sculpting, a great dialogue of an artist with himself and with the others has started. When we paint – we do that for ourselves. We do not think about the audience, all our creative effort is directed towards our creation. The point is to capture our feelings and thoughts in its form, and to capture our ponderings, the careful and penetrating way in which we look at this world and also the way we feel this world. And this is why; while looking at the ancient works of art, and also looking at the works of a modern artist, in his or her studio, we witness a drama, which is continually renewed: it is either an intellectual analysis of the occurrences within reality or an expressive reaction to the world. When looking upon the new paintings and monotypes of Karolina Jakubowska I was thinking about this continuity of the most important element of art. Of course, this sublime contact of the old and the new, which sometimes one can only sense, takes place when the artist consciously undertakes a dialogue with the most valid elements of art: the form, the content, the quality and the message.  So, here I am, looking at the curt, as if instantly drawn characters of people in monotypes. Maybe once upon a time they were seen, remembered, and now they are recalled from the memory and thanks to the imagination, drawn. Those are single silhouettes of people-events and also their whole ranks, harmonised, drawn strongly and also strongly coloured, where the artist thought it would be proper and more expressive. Her oil paintings on cloth and cardboard have the same inner strength. The starting point of Karolina Jakubowska’s work is the nature. This might be a general term, but in this case it is not about a general, vague defining or pretending inspiration. Looking at the oil paintings of Karolina Jakubowska we are confronted with artistic variations on life. Variations on forms, which resemble human beings, landscapes or plants. The painter paints violently and using a very expressive contour, pigment spots and lighting, which immerses us into a climate of intense experiences. We see a series of pictures, where the form is a result of a collision of spots, their interaction and also where the form has a unique, biological strength. On the other paintings we see vertical or horizontal rhythms, stripes strengthened by paint, which allow us to think about the landscape. If this is my interpretation of the artist’s paintings, then its goal is not to force on the audience constant references to the human character or the landscape.  In my opinion the painter shows us a scale of inspiration, which, as I guess, is constantly valid for her. Karolina Jakubowska does not want to explain her terse and vigorous paintings by pointing to the genesis of the forms she creates. In my opinion, she paints her feelings; she paints shifting to and from the visible reality, the joy of perceiving the world, and the vastness of the area of interpretation, computing and deforming. But the deforming is not “disfiguring”. It is also the result of the painter’s gesture, feeling and perception. I think that this natural vitality of Karolina Jakubowska – along with her approach to painting as to an effort of coexisting with the world, human being, trees and the space allow us to think of her way as a painter as of a credible way of searching for the most important things in art. And the most important thing in art is the search of one’s own exclusive truth about oneself, about reality, about the visible and the Invisible; it is also finding our own, unique path, which would lead us to the fulfilment of our own world. ( by Stanisław Rodziński)